DMG Newsletter for November 3rd, 2017

Saw King Crimson on HalloweenBlew my Mind, What a SceneNearly fifty years since their first album EruptedAnd that material still sounds Fresh, Intense and Appropriate for Our Current Situation: “Politicians, Funeral Pyre” “21st Century Schizoid Man!” Who are they singing about..? Today’s Super Special Sonic Delights Feature these Fine Folks:

DMG is located at 13 Monroe St. (between Catherine & Market Sts) in a basement below a small gallery. Take the F train to East Broadway or the 6 train to Canal or the B or D to Grand, or the M-15 bus to Madison & Catherine. Come on Down, the Sunday Music Series is Always Free & the Vibes are Always Cosy

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Attention Fans of Live Creative Music, THE STONE needs your help!

The Stone was and remains the most hospitable place to hear creative/experimental music in NYC. Opening in April of 2005 and soon closing in February of 2018 in its current location: for 13 years, 6 night a week, over 7,500 sets, The Stone has been a home to 1,000’s of creative musicians from around the world. John Zorn founded The Stone in 2005 and the policy has been the same: musicians get 100% of the door and the musicians are the one who curate. There are no distractions like food or drink or loud music played through the PA before or afterwards. There is only live music served at The Stone and the nightly staff are all volunteers. To me, The Stone is something quite special, a revered place to hear challenging music time and again. I am proud to be a long time volunteer and still help out whenever I can. I had the honor of curating there for a month in December of 2006 and still remember many transcendent moments. You can view the entire schedule/history of events at The Stone at www.thestonenyc.com/calendar.php

In March of 2018, The Stone will move to a new location in the Glass Box Theatre at the New School (13th St., just east of 6th Ave). The New Stone started having concerts on weekends in June of this year and will begin the regular six night run in March of next year. The Stone has long been curated by the musicians who play there and this will tradition will continue. During this period of transition, The Stone needs your help in order deal with the rising costs incurred over last few month at its location on Ave C & 2nd St. If you care about the present and future of The Stone please help - check out this: www.generosity.com/community-fundraising/help-the-stone-start-its-next-chapter - shalom, Bruce L Gallanter at DMG

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Get Your KING CRIMSON Tickets Now!

As I was saying in my above intro poem, I saw the mighty KING CRIMSON earlier this week on Halloween at NJPAC. They were just incredible!!! And they are currently on tour and playing again in NYC on November 17 & 18th at the Beacon Theatre. I’ve seen them many times (a dozen?) since their second tour in 1971 and this was their best set ever!

In you want to get tickets, go here: www.vividseats.com/concerts/king-crimson-tickets.html?regionId=7&utm_source=msn&utm_medium=cpc&utm_campaign=Rock&utm_term=king crimson at beacon&vkid=13468476

And if you want to watch a 30 second TV spot, then check this out: https://we.tl/8PDzUj5S0v

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This Week’s Audial Gems Begin with this Very Special Disc:

ANTHONY BRAXTON - Solo (Victoriaville) 2017 (Victo 130; Canada) Featuring Anthony Braxton on solo alto sax. For many of us, this was the best set at this year’s FIMAV festival. Pioneering saxist/composer/visionary, Anthony Braxton, has been performing solo sax for nearly 50 years! A half century of exploration and invention. When Mr. Braxton’s first album of solo sax (‘For Alto’, Delmark) appeared in 1969, early of his long career, it was a brave move and the beginning of what would become a format or which a number of saxists would test their skills alone in the studio or on the stage. Over Mr. Braxton long, adventurous and varied career, there have around 15 solo sax recordings. The last recording of solo sax came from a concert in New York in 2002, so it has been a long while since Mr. Braxton has done this. When Mr. Braxton took the stage at the Victo show, it was near the end of a long (4 day) festival, it felt like an old friend had come to help us all through some dark times. There was something beautiful, lyrical and calming going on here before Braxton launched into those magnificent, spiraling, utterly distinctive sax lines. There were a few times when Mr. Braxton quoted bits of certain old standards, the distant familiarity of which brought many of us together and near the end of the set, Mr. Braxton played “Body and Soul” in its entirety. “Body and Soul” was perhaps the first jazz standard to become a hit for Coleman Hawkins in 1939 and an evolutionary step forward. Of course, Mr. Braxton did it in his own way, reverent and completely enchanting. I’ve seen many solo sax sets through the years, but this one was perhaps the best. The next day after that concert we were leaving the Hotel Victorin and bumped into Mr. Braxton in the lobby. I gave him a hug and said “Thank you for the special set, your music was indeed the medicine we all need.” He smiled and we parted ways. This disc captures that amazing set perfectly! - Bruce Lee Gallanter, DMG CD $15

DAVID BINDMAN SEXTET With FRANK LONDON / REUT REGEV / ART HIRAHARA / WES BROWN / ROYAL HARTIGAN - Ten Billion Versions of Reality (Self-produced; USA) Featuring David Bindman on tenor & soprano sax & compositions, Frank London on trumpet, Reut Regev on trombone, Art Harihara on piano, Wes Brown on contrabass and Royal Hartigan on drums. It hard to believe that is has been almost five years since Mr. Bindman left us with his last CD, a great double disc called, “Sunset Park Polyphony”. Mr. Bindman has assembled the same group, an all-star sextet of local heroes, all of whom you should know. We haven’t heard much from Klezmatics trumpeter Frank London or Israeli-born/NJ-based trombonist Reut Regev recently. Bassist Wes Brown is another name we don’t hear from very often, although we just got in a collection of vinyl which included a half dozen albums the Mr. Brown played on with (Wadada) Leo Smith. Bobby Naughton and Gerry Hemingway. This disc consists of a suite of seven pieces. Starting with “Sketch in 12”, while the piano plays that repeating McCoyish line, the three horn swirl around one another tightly above. The opening solos by each horn are short and superbly crafted, kind of life an introduction from each player. It is Mr. Bindman’s arranging for the horns, piano and bass that stands out on “Refuge”: dreamy and most cerebral, culminating into a series of strong duos. royal hartigan (no caps), has several CD’s on Innova and who has worked with Fred Ho, Jon Jang and others, is a master drummer who sounds like he has studied many types of ethnic & jazz percussion. He takes a couple of solos here and is in especially fine form. “Through the Clouds” is exquisite, a slow-burning beauty with a superb tenor sax and drums interlude midway which morphs into more strong orchestral arranging for the sextet in the last half. There is a warm sense of calm at the center of all of these tracks, as well as thoughtful arranging throughout. I had to slow down a bit, get comfortable to appreciate this fully. Hopefully it won’t another five years before Mr. Bindman leaves us with another gem. - Bruce Lee Gallanter, DMG CD $14

JEN SHYU With MAT MANERI / ANNA WEBBER / THOMAS MORGAN / SATOSHI TAKEISHI / DAN WEISS / MIVOS QUARTET - Song of Silver Geese (Pi Recordings 72; USA) “Song of Silver Geese is dedicated to two of Ms. Shyu’s mentors whose texts comprise the core of this piece: Taiwanese engineer and poet, Edward Cheng, who passed away from cancer in 2015, and Sri Joko Raharjo Cilik, a master of Wayang Kulit, the Javanese art of shadow puppetry, who died with his wife and infant son in an automobile accident at the age of 30. His six-year-old daughter, Nala, who survived the crash, is the inspiration for the central character of this work. In the narrative, Shyu imagines Nala just after the moment of impact from the tragic accident, encountering three spiritual guides who help her through her grief with messages of solace and hope. They include Timorese woman warrior Hoar Nahak Samane Oan, who disguises herself as a man to defeat a rival king; Baridegi from Korean folklore, known as the mother of all shamans; and Chen Da, the half-blind, nomadic Taiwanese moon lute virtuoso who defined Hengchun folk song. The works nine compositions are conceived as a series of Doors that each open into its own fantastical world. This trope is partly inspired by a story Shyu encountered on the radio program This American Life, whose episode Act One. Really Long Distance tells the touching story about the Kaze no Denwa (Phone of the Wind), a phone booth in Japan that grievers now visit to speak to loved ones whom they lost in the 2011 Thoku earthquake and tsunami. This past February, Shyu met the phone booth’s owner, who gave her permission to compose music to his poetry in Nine Doors. Sung in English, Indonesian, Javanese, Taiwanese, Mandarin, Tetum Wehali, and Korean, Song of Silver Geese reflects the parallels that exist between life and death, different cultures, and the importance of empathy over the destructive assumptions that divide humanity. That it all comes together seamlessly is a testament to Shyua’s complete immersion into these art forms and the strength of her intuition and creative voice. Ben Ratliff in The New York Times calls her concerts the most arresting performances I’ve seen over the past five years. It’s not just the meticulous preparation of the work and the range of its reference, but its flexibility: She seems open, instinctual, almost fearless.”CD $15

ACID MOTHERS TEMPLE & THE MELTING PARAISO U.F.O. - Those Who Came Never Before (Nod and Smile Records MVD 375; USA) "Blazing, chaotic psych rock for these heady, heavy times. Features long time AMT vocalist and fan fave, Cotton Casino on vocals. Features two bonus tracks not on the vinyl version and limited to 500 copies worldwide."CD $15 / LP $27

ALAN SONDHEIM / STEPHEN DYDO - Dragon and Phoenix (ESP Disk 5019; USA) Featuring Alan Sondheim on qin, viola, banjo, guzheng, rababa (bowed string instrument), erhu (Chinese violin) & madam (hand drum) and Stephen Dydo on qin, viola & banjo. Alan Sondheim, collector of a vast array of ethnic instruments and longtime recording artist of ESP, always plays his many instruments in his own unique way. Stephen Dydo, a former president go the New York Qin Society, is also a classical guitarist and 12-tone composer. Mr. Dydi also plays the qin (fretless Chinese board zither with seven strings), but in a more traditional way. The qin is said to be 5,000 years old, one of the oldest instruments known. This is a match made in heaven for those of us who thrive on challenging sounds and considering that this is an all acoustic duo, even better. The blend of ancient and modern playing as well as mixing of different cultures make this something unique, something special. I listened to this disc in its lengthy (78 minute) entirety last Sunday, early in the day and was consistently enchanted. Most of the pieces are not too long yet each one captures a different spirit, ghost or myth. Midway through this disc, my landlord who is Chinese and speaks minimal English, walked through the store, stopped for a few moments, perhaps listening to the music (something he often ignores) and smiled. Perhaps he recognized one of the ghosts floating in the room. This is magic music, indeed. - Bruce Lee Gallanter, DMG CD $12

EARLY NEW - Something Above All (Fat Tree Papa Mountain Group; Taiwan) Ms. Early New is from Taiwan and recently came to visit the store, leaving us with her one and only CD. Originally released in 2008, Ms. New wrote all of the songs, plays all of the instruments (mostly samplers, synths & bits of guitar), does all of the singing and produced it herself. I didn’t know quite what to expect since I rarely meet musicians from Taiwan but I was most surprised nonetheless. First surprise is that Ms. sings in English and has obviously listened to quite a bit of pop music from the past. The opening song is called, “Let it Go”, and it is most melancholy, haunting and rather quaint. Ms. New seems to be singing about not being what folks expect and showing us the secret if we embrace her music, Her soft, sad voice and somber Casio-like keyboard are consistently charming. Ms. New sings in what sounds like Spanish for parts of “Hey Joe” (nota cover song), which has a lovely samba-like groove at times and ancient-sounding, mellotronish strings as well. There are a number of short instrumental bits which utilize layers of synths interwoven in a most hypnotic way. All of these pieces are short yet mesmerizing, so a full CD of these would be most worthy. These are bridges into the next vocal tracks. Ms. New’s words are often like odd puzzles, about the mysteries of love or trying to figure why life is the way it is. Overall, there is something most enchanting about this subtle, unassuming gem. The unfussy, quietly psychedelic production recalls Kramer at times. If this sounds like your cup of tea, then grab this disc before Ms. New disappears back to the Far East. - Bruce Lee Gallanter, DMG CD $14

Nine Fantastic New Discs from the Mighty FMR Label!

GLASGOW IMPROVISERS ORCHESTRA With MARILYN CRISPELL / MAGGIE NICOLS / RAYMOND MacDONALD / GRAEME WILSON / GEORGE BURT / NEIL DAVIDSON / et al - The Word for It Now (FMR 458; UK) The Glasgow Improvisers Orchestra (GIO) is from Scotland have been around since 2002. Each of their previous seven CD’s has shown them evolving and most of have included guest musicians like George lewis, Evan Parker, Maggie Nicols and Lol Coxhill. This disc includes the great Marilyn Crispell on piano and again the GIO are triumphant. There are two long works here, each with different ideas or instructions involved. “A Bit in the Air” involves a sculpture called, “Hung Sentence”, which was inspired by a book called, “Sanity, Madness and The Family”. The five vocalists quote from the book and five ceramic letters from the sculptures are played percussively by the orchestra members. The vocals and ceramic percussion are often used minimally and as a part of the full 19-piece orchestra. Although chaotic at times, there seems to be someone or something directing those cascading waves of sounds. One of the themes of the book is “madness”, which the voices (all female) seem to draw from and illustrate. The reeds, voices and percussion sound especially spirited and focused, making this work harrowing at times and fascinating to listen to. “A Particular Slumber” is a response to the theatricality of the Centre for Contemporary Arts, there space where the GIO rehearses. The texts come from Swiss writer Robert Walser. This piece is in two parts: the first part for the full orchestra, the second part, a series of improvised duets. In the liner notes, it says that the orchestra tracks “the quicksilver hyperbole and escalating calamity” to the theme of the piece and these are rather apt descriptions of what goes on here: quiet sections mix with occasionally intense eruptions, yet the balance seems just right. In the second part, the duos illustrate how well these musicians have worked together over the many years, the ongoing dialogues often extraordinary on several levels. - Bruce Lee Gallanter, DMG CD $14

FRODE GJERSTAD / FRED LONBERG HOLM - The Houdan (FMR 462; UK) Featuring Frode Gjerstad on alto sax & clarinet and Fred Lonberg-Holm on cello & electronics. Norwegian reedman, Frode Gjerstad and Chicago cellist, Fred Lonberg-holm, have been collaborating for a while and have several previous CD’s: a double cello quartet, group called VCDC and a couple of earlier duos with Frode & Fred (all on FMR). Both of these musicians can be heard on upwards of 10 discs each so we know they are well-weathered sonic explorers. This disc was recorded live at Kongsberg jazz Festival in Norway, in July of this year (2017). Mr. Gjerstad mentions in the liner notes that Mr. Lonberg-Holm’s use of electronics is just right as it is an extension of the way he plays the cello, acoustic or amplified. The duo work closely together bending and twisting their notes in similar ways, pushing each other further out but always sounding connected. It is difficult to tell them apart at times as they blend certain strange sounds together. There also moments of bristling intensity when the two seem to the more extreme atonal regions. FYI, the names of the four piece on this disc (The Houdan” & “The Orpington”) are taken from the names of four chickens. Who knew? - Bruce Lee Gallanter.DMG CD $14

ALAN TOMLINSON TRIO With DAVE TUCKER / PHILLIP MARKS - Out and Out (FMR 459; UK) Featuring Alan Tomlinson on tenor & alto trombones, Dave Tucker on electric guitar and Phillip Marks on percussion. Although British trombonist Alan Tomlinson is a longtime member of the London Jazz Composers Orchestra, his work with smaller units seems more infrequent. Dave Tucker is another under-recognized UK guitarist who has worked with Evan Parker, John Butcher and Phil Minton. The drummer here, Phillip Marks, is someone with whom I was previously unfamiliar. This disc was recorded live at four concerts in England from 2009 to 2016, so this trio has been working for a while. Since there is no bassist involved, guitarist Dave Tucker, does a fine job of creating assorted textures and drones which float between the trombone and drums, connecting the two. Mr. Tucker uses some Fripp or Frith like sustain at times while Mr. Tomlinson reaches for the skies with quick bursts of trombone flurries. I dig when the pace picks up and the trio start tossing around lines more quickly and intensely. There is a good deal of cross pollination, strong dialogue going on, from brittle to transcendent and often leaving us at the edge of our seats. - Bruce Lee Gallanter, DMG CD $14

SZILARD MEZEI / TIM TREVOR-BRISCOE / NICOLA GUAZZALOCA - Exuvia (FMR 456; UK) Featuring Szilard Mezei on viola, Tim Trevoe-Briscoe on alto, tenor & soprano saxes & bass clarinet and Nicola Guazzaloca on piano. Serbian violist Szilard Mezei is perhaps the prolific string player/composer/band-leader in Eastern Europe with more than 25 discs in the past decade. Practically every disc that Mr. Mezei is involved in, has different personnel. This is the second disc from this particular trio, the first was from 2010 on the Leo label. This one was recorded in Italy in 2015, which is where Mr. Guazzaloca is based. As a longtime fan of Mr. Mezei, I look forward to each release of his so I eagerly slipped this disc into the CD player and took off with the trio. Wow! This is just incredible, the trio just soars, furiously spinning webs around one another! One can hear a tight, intense connection between these players, no matter where they go, they remain as one connected blur of activity. This is the most exciting and extraordinary discs I’ve heard this week and considering that I’ve reviewed 10 discs, that is saying something! - Bruce Lee Gallanter, DMG CD $14

UDO SCHINDLER / PHILIPP KOLB / SEBASTIANO TRAMONTANA - Munich Rat Pack (FMR 454; UK) Featuring Udu Schindler on clarinets, saxes, cornet, euphonium & analogue synth, Philipp Kolb on trumpet, tuba & electronics and Sebastiano Tramontana on trombone & whistling. After a couple of other fine duo discs on FMR, German reeds player Udo Schindler is back with a couple of trio dates. This date features Philipp Kolb on trumpet & tuba and Sebastiano Tramonatana on trombone. I hadn’t heard of Mr. Kolb before this CD, but I do know Italian trombonist Mr. Tramonatana quite well from his work with Georg Graewe, Joelle Leandre and Mario Schiano. This disc was recorded live in Munich on two occasions in July & September of 2015. According to the liner notes, this trio first happened per chance and all three musicians also use some live electronics. Mr. Tramontana takes the first solo and reaches deep into his bag of sounds, singing through his trombone, muting and twisting notes into a variety of odd shapes. He is soon joined by the trumpet and tuba or euphonium, for spirited brass trio interlude. When Mr. Schindler switches to tenor sax, the trio with brass becomes even more impressive. Each member of the trio gets a chance to stretch out and solo, while the others combine forces to weave the sounds around one another. Each instrument employed brings a different sound or texture, changing the direction of the trio as evolve through different combinations. There are a number of amazing combinations: bass clarinet, muted cornet & tuba is just one. When the analogue synth kicks in about half way, things go even further out! This is a consistently invigorating improv sessions, no matter which combination of instruments is being used. - Bruce Lee Gallanter, DMG CD $14

UDO SCHINDLER / JOHANNES OLLINGER / DINE DONEFF - Waterway (FMR 457; UK) Featuring Udu Schindler on clarinets, saxes, cornet & euphonium, Johannes Ollinger on amplified acoustic guitar & toys and Dine Doneff on double bass & waterphone. I just reviewed anoth trio disc from German reeds-player, Udo Schindler, earlier today and it sounds very different from this trio. The other members are new names for me. This disc was recorded live in Munich, Germany at two gigs in November of 2015 and January of 2017. This was a mostly acoustic set with both Mr. Ollinger and Mr. Doneff also playing toys. It begins very quietly and has rich, warm, well-nuanced sound. This is my first time hearing this disc and I am much impressed. Mr. Ollinger sounds like an amazing acoustic guitarist, playing furious, lightning like licks and a most restrained levels, often muting many notes most carefully. There are some truly amazing moments here when the trio erupts with quick bursts of alien sounds: rubbed & altered strings from both the acoustic guitar & double bass while Mr. Schindler switches between clarinets, saxes, cornet & euphonium. Sometimes those rubbed or oddly plucked strings give off an air of off-kilter balance or mystery. It is great to hear a mostly acoustic record that is balanced between calm sections and flurries of outside weirdness. - Bruce Lee Gallanter, DMG CD $14

FRANCOIS CARRIER / MICHEL LAMBERT - Out of Silence (FMR 455; UK) Featuring Francois Carrier on alto sax & Chinese oboe and Michel Lambert on drums. “Freely improvised music from the masterful duo of Canadian saxophonist Fracois Carrier and drummer/percussionist Michel Lambert, perofrming live at Ryan's Bar in Stoke Newington, London in 2015, seven tracks showing the depth of discussion between these two long collaborating musicians, supporting and pushing each other to great heights.”CD $14

WRAITH ISLAND [PETER URPETH / OLIE BRICE / NTSHUKS BONGA / TERRY DAY] - Live at Cafe Oto (FMR 439; UK) Wraith Island is Ntshuks Bonga on alto & soprano sax, Peter Urpeth on piano, Olie Brice on bass and Terry Day on drums. Similar to The Stone, Cafe Oto and Vortex, are the two main places where creative music thrives in London, throughout the year. This quartet combines four musicians from different scenes and sounding like they have been together for a long time. South African born saxist Ntshuks Bonga has been working with Louis Moholo for the past few years and does have that Township sound in his playing. I’ve just become familiar with pianist Peter Urpeth recently as he has two discs on FMR, one, a duo with Maggie Nicols and the other performing the music of John Cage. Bassist Olie Brice seems to be all over in recent years: he has a recent discs as a bandleader plus he has worked with Ingrid Laubrock, Paul Dunmall and Mikolaj Trzaska. Drummer Terry Day was the founding member of the People Band (existed way back in 1968-1970), as well as Alterations, legendary British improv band with a twisted sense of humor whose members included Steve Beresford & David Toop. I listened to this long (79 minute) disc in its entirety earlier this week and was amazed by how consistently engaging it was. There are four quartet and two duet pieces. Whoever recorded this, did a great job as the sound is perfect. I really the sound of Mr. Ntshuks alto sax which is somewhere between Ornette, Thomas Chapin & John Zorn: intense, spiraling fragments quickly woven into tight lines. I doubt anyone would be able to figure out who any these men were in a blindfold test but I must admit that I was blown away throughout! - Bruce Lee Gallanter, DMG CD $14

A Half Dozen Stunning Releases New & Not So New from the Confront Collectors Series:

DEREK BAILEY & SIMON H. FELL - The Complete August 15th 2001 (Confront CS 22; UK) This is the full recording - freshly remastered - of the 2001 duo gig, an excerpt from which appeared in 2002 on a long-deleted Sound 323 mini-CD which was voted a record of the year by THE WIRE magazine in 2002. Here at last is the full performance in all its exhilarating acoustic power; an unplugged (but very intense) set from a hot and summery Wednesday afternoon, recorded in the basement of Sound 323 in London by Tim Fletcher. “Fell and Bailey goad each other into some of the most impassioned playing I've heard from either artist. The opening is explosive, with sonic shards and fragments flying across the sound stage, the two instruments at times indistinguishable in the sound mass. The later part of the track yields some respite, with arco bass and gentle atonal guitar lines - 'insect music' maybe - but the overall tenor is muscular and intense. The antagonists show no signs of flagging in their search for new instrumental sonorities - at one point I could have sworn there was a dog yelping in there. The result could become quite a collector's item. Aesthetically, it's a delightfully minimal little product ... it might be a good idea to get yours soon.” (Andy Hamilton, The Wire)CD $14

BURKHARD BEINS / JOHN BUTCHER / MARK WASTELL - Membrane (Confront CS 36; UK) “This marvelous release from Mark Wastell’s Confront label documents a meeting of these three heavy hitters convened at Dalston’s Cafe Oto, last March. This was the first time all three had played together, although, as John Eyles remarks in his liner notes, they had all worked with each other, before, in outfits such as Powelchsel (Butcher and Beins), The Sealed Knot (Beins and Wastell) and Chris Burn’s Ensemble (Wastell and Butcher). This familiarity, combined with rigor and expertise of their respective improvisational methodologies, means this is a very accomplished set. These guys know what they’re doing and so there’s no faffing about. They’re locked in from the first seconds of Membrane 1, setting up a long, ringing sequence of notes, driven by Wastell’s metallic tam-tam murmurs. At first things are slow and sub aqueous, Wastell setting up a liquid sonic field that makes everything like it is taking place at the bottom of a cold, clear ocean. Butcher comes in sensitively at first, his breathy hisses moving through the shimmer like an eel. At around 11 minutes, he casts forth some simple, abstract phrases, before slipping back into the depths. Beins is even more circumspect and, occasionally, it’s tricky to figure out whether the electronic tones and chain-like rattles that occasionally ripple across the surface of this piece are him or one of the other two. There’s definitely something going on, however, something creating that sense of textured depth that seems, on the whole, organic but sometimes humming like a vast, dormant machine.”CD $14

SIMON H. FELL - Le Bruit de la Musique (Confront CS 70; UK) “It's always gratifying and exciting to be invited to perform at a Festival,especially if it is a local one organized by friends. Jo & I moved to rural France 12 years ago, and one immediate effect of leaving London behind was that I went from playing improvised gigs at least once or twice a week to a much less intensive rate of performance. In fact there are relatively few chances to perform improvised music in La France profonde, but Le Bruit de la Musique is one of two performing opportunities in our département. Run by a friendly team spearheaded by neighbours and fellow-musicians Lê Quan Ninh and Martine Altenburger, the Festival brings improvised and contemporary composed music to a range of venues in the north of La Creuse, and I was particularly pleased to be asked to play in the marvelous church of Toulx-Sainte-Croix, with its wonderful acoustics and rich purply-blue starred cupola. Playing so near home for friends and fellow enthusiasts (especially on a warm and sunny summer afternoon) felt inspiring, and I do hope that you can hear this in the recording” - Simon H. FellCD $14

IAN BRIGHTON - Now & Then (Confront CS 62; UK) Featuring Ian Brighton on guitar with sounds from Trevor Taylor, Frank Perry, Philipp Wachsmann, Marcio Mattos, Nicky Heinen, Paul Brighton. “Ian Brighton is an improvising guitarist known mostly for his work between the 70s and the early 90s playing alongside Lol Coxhill, Philipp Wachsmann, Marcio Mattos, Trevor Taylor, Frank Perry, Radu Malfatti, Veryan Weston and Larry Stabbins. He also was part of the Spontaneous Music Ensemble with John Stevens, Trevor Watts and Evan Parker, the Tony Oxley Quartet and co-founder, with Trevor Taylor, of the Alternative Music Orchestra. Other contemporaries at the time included David Toop, John Russell, Roger Smith and Peter Cusack; each different in their approach to improvisation on the guitar. After an absence of nearly 30 years, interest was expressed when he appeared on Tony Oxley's 75 years birthday album on Incus. This was followed by a release on SoundCloud in 2014 entitled " A Voice You Left Behind " ; a tribute to his old friend and mentor, Derek Bailey. Now and Then was conceived as a way of getting together with old friends through a recorded medium. His son Paul recorded the album and played on two tracks and Ian's old friends Trevor Taylor and Frank Perry are brought together to feature on a composed improvisation track. There is also an exclusive unreleased remastered recording of the original quartet from 1985 and a tribute to Lol Coxhill.”CD $14

​SOCIAL INSECTS [HANS KOCH / GAUDENZ BADRUTT] - Social Insects II (Confront CS 55; UK) Social Insects are the bass clarinet player Hans Koch and the electronic musician Gaudenz Badrutt. They have collaborated on various musical projects for years and in 2011 founded the duo. Hans Koch is mainly known as a member of the Hardcore Chambermusic Trio Koch-Schütz-Studer, but also as a soloist as well as for his collaborations with Phil Minton, Fred Frith, Paul Lovens etc. As a bass clarinet player he has developed a very personal style. The electronic musician Gaudenz Badrutt is mainly known as one half of the electroacoustic duo strøm (together with Christian Mueller, electronics), as well as part of the duo Jonas Kocher (accordion) - Gaudenz Badrutt. His music is coined by a very instrumental use of computer/live sampling and electronic devices. The music of the duo Hans Koch-Gaudenz Badrutt stems from sparse musical material; creating pieces that live on lightness, density, fragility and humour. Concerts as duo in Europe and Japan.CD $14

10TET With TETUZI AKIYAMA / RADU MALFATTI / TAKU UNAMI / TAKU SUGIMOTO / et al - 10Tet (Confront CS 60; UK) ".... it was October 2013 ... Radu, Klaus and Nikos came to Japan. The last day of their tour, Ftarri was booked but it was uncertain what would be done there … so we decided to invite all our friends to join just a few days before." - Taku UnamiCD $14

TIN With AXEL DORNER / DOMINIC LASH / ROGER TURNER - Uncanny Valley (Confront CS 73; UK) Featuring Axel Dorner on trumpet, Dominic Lash on double bass and Roger Turner on drums & percussion. This disc was recorded at three locations in the UK in April of 2015. What makes this trio so interesting is that each member has worked with a diverse cast of musicians from different countries and background. Axel Dorner (German born) has worked with Alex Von Schlippenbach, John Butcher & Ken Vandermark. Dominic Lash (UK) is a member of UK/NY Convergence Quartet & has collaborated with Denman Maroney & Fay Victor. Roger Turner is the eldest member of this trio, working with Phil Minton, Derek Bailey, Lol Coxhill and is a member of Konk Pack. Mr. Dorner, who has worked with lower case/minimalists to modern jazz (with Schlippenbach) to the freer regions, always thrives in situations like this where anything can happen. The results here are extraordinary: superbly recorded and immensely fascinating so listen closely. The two long pieces here were recorded at Cafe Oto, London’s most consistent home for creative music and these pieces are just incredible. Although the six pieces were recorded at three different locations, the overall superb recording is the same: perfect! - Bruce Lee Gallanter, DMG CD $14

Archival Recordings, Reissues & Restocks - In Stock early Next Week:

THE MOTHERS OF INVENTION - Bacon Fat - Live At The Rockpile '69 (Keyhole 9085; UK) This is The Mothers Of Invention, live at the Rockpile, Toronto, February 23rd, 1969. The Rockpile was Toronto's hippest club, and 4,000 of the city's hippest heads flocked there on February 23rd, 1969 to see the great Frank Zappa and his Mothers Of Invention. They did not disappoint, playing a remarkable set that combined their uniquely skewed take on rock n' roll with virtuoso solos and improvisations, as well as their trademark humorous interludes. Originally broadcast on CBC-FM, the entire broadcast is presented here, digitally remastered, with background notes and images.CD $17

HERMETO PASCOAL & GRUPO VICE VERSA - Viajando Com O Som (The Lost '76 Vice-Versa Studio Session)(Far Out Recordings 200; UK) Hermeto Pascoal is a true maestro and a cultural icon. He represents the highest level of musical evolution; as a multi-instrumentalist, a composer, and an arranger. Once described by Miles Davis as "the most impressive musician in the world", there is good reason (beyond his Gandalf-like appearance) why he is known as "O Bruxo" ("the Wizard"). For Far Out Recordings' 200th release, the label present a previously unreleased album by Hermeto Pascoal and his Grupo Vice Versa: Viajando Com O Som, the lost '76 Vice Versa Studio Sessions. Recorded in two days in 1976, at Rogério Duprat's Vice Versa Studios in São Paulo, the sessions featured Hermeto's go-to "Paulista" rhythm section: Zé Eduardo Nazario (drums), Zeca Assumpção (bass), and Lelo Nazario (electric piano), as well as saxophonists Mauro Senise, Raul Mascarenhas, and Nivaldo Ornelas, guitarist Toninho Horta, and vocalist Aleuda Chaves. Hermeto decided he would record with this particular group following a show at Teatro Bandeirantes, during which an almost spiritual musical connection amongst the group was realized. The performance lasted for hours, without any breaks, and Hermeto saw the potential for his compositions to reach a "higher level" as the music organically moved from structured compositions to "freer" improvisational works. In the studio, the sound engineer Renato Viola understood that things needed to happen quickly. Almost everything recorded on the first take ended up staying in the final mix. After the mixdown, Lelo Nazario would ask Renato to make him a copy of all the material. Supposedly, the master tape was lost, but Lelo kept his copy in his studio's archives, where it stayed for over forty years. With the tape rescued and restored, this release fills a void in time. Recorded at an especially experimental period in Hermeto's career, it's a compelling insight into the incredible efforts of this group, who created a unique musical language which would have a profound influence on countless artists to come. The 1970s are considered a golden age of Brazilian music, but it's often forgotten how desperately hard it was for artists to get their music past the military dictatorship's censorship efforts. Yet in 1976, despite the often musically radical nature of Hermeto Pascoal's compositions, he was typically productive. The release of Viajando Com O Som re-writes the already remarkable story of one of the world's most supernaturally talented musicians.CD $15

LOBI TRAORE - Rainy Season Blues (Glitterbeat GR 711; Germany) Lobi Traoré (1961-2010) was a true African original, a guitarist of profound depth and originality, a singer and songwriter with universal appeal, and a performer who became part of the very fabric of Bamako, one of the world's most musical cities. Not long before he died -- suddenly and unexpectedly in June, 2010 -- Traoré recorded an unprecedented solo CD, featuring just him and his guitar, in a single session with no overdubs. Rainy Season Blues turns out to be Traoré's final statement. It captures the pure essence of his artistry in full flower. From his earliest days in Mali, Traoré was an avid rock and blues fan who listened to players from John Lee Hooker to AC/DC's Angus Young. In Bamako, Traoré held a lifelong tenure in the city's late-night bars and clubs -- Bar Bozo, Makelekele, The Djembe, Espace Academie, and others. When his first cassette, Bambara Blues, appeared in 1989, things began to take off. Traoré had mixed feelings about the "blues" tag. "I listened to a lot of blues," he said, "Especially John Lee Hooker. Maybe I was inspired by that. Maybe the blues was inspired by Africa. Maybe the resemblance is just a coincidence. But listen, for me the music I play comes from me, from my place." Traoré would go on to release three CDs with the Cobalt label: Bamako (1994), Segou (1996), and Duga (1999). But there was a schism in Traoré's musical persona during these years. His international releases presented a toned-down, acoustic side of his music, while his club dates in Bamako became ever more wild, raw, and raucous. Subsequent CD releases like The Lobi Traore Group (Honest Jon's, 2005) did capture the more unbridled, rocking side of Traoré's chameleon musical persona. But all of it is Traoré, an artist with many faces. He sought to dignify a profession that many Africans still view as dubious. The fruit of that attitude and Traoré's rich and varied experiences are abundantly evident on Rainy Season Blues. In his final years, Traoré was driven to record and to demonstrate how he had grown as a musician. Producer and guitarist Chris Eckman had returned to Bamako to record the Tuareg desert rock band Tamikrest, but Traoré more or less demanded a hearing. When it became clear that a full-band recording would not be possible right away, Traoré turned up with just his guitar, and recorded this remarkable set of ten songs, new and old. The session offers a magnificently lucid record of Traoré's core talent. His playing has never sounded cleaner, fresher, or more nuanced. No guitarist alive phrases the way Traoré does, and to hear him unaccompanied like this is a treat not found on any of his other nine albums. Traoré's voice shows all its colors, from a soothing half-whisper to a world-weary growl to keening melodicism.CD $14

NURSE WITH WOUND - The Swinging Reflective (Dirter Promotions 136; UK) Out of print for 17 years, Nurse With Wound's The Swinging Reflective was originally released in 1999. Features collaborations with Coil, Diana Rogerson, Jim O'Rourke, William Bennett, Legendary Pink Dots, Foetus, Current 93, David Tibet, Tony Wakeford, Inflatable Sideshow, Aranos, Chris Wallis/Peat Bog, and Tiny Tim. All tracks are remastered and it is the perfect partner for Swinging Reflective II (DPROM 134CD). Also features Steven Stapleton and Stereolab. This set is packaged with all new artwork; Comes in a heavy board, gloss laminated six-panel digipak.2 CD Set $23

NOCTURNAL EMISSIONS - Nocturnal Emissions (Mannequin Records 102; Germany) Led by Nigel Ayers, Nocturnal Emissions was one of the first bands to use tape cutting, avant-garde art, and underground video works to create a stage experience that was cultivated by like-minded artists like Throbbing Gristle and Cabaret Voltaire. The band moved on to using samplers and electronic noise in their early '80s work, creating a twisted funk sound that would go on to influence everyone from Foetus to Negativland. They still utilized their former tricks, upping the ante with extremist performance art and more professional video displays. The group avoided signing to a major label, instead focusing on releasing their own music more effectively. They followed this path into the '90s when they started www.earthlydelights.co.uk, an incredibly detailed website that promotes their various ideologies -- they are strongly against the British monarchy and believe that citizens should have unlimited access to space travel -- and constant release schedule. The band has released countless tapes and CDs of their material, and continues to unleash their noise through their website. Nocturnal Emissions is a compilation of classic tracks from the early to mid '80s. Track selection by Alessandro Adriani. Graphic artwork by Simon Crab. Audio mastering by Rude 66.CD $17

THE DAVE BRUBECK QUARTET / TWO GENERATIONS OF BRUBECK - Live At The Apollo Theater, NY, 1973 - Newport Jazz Festival (Hi Hat 3091; UK) Two Generations Of Brubeck, live at the Apollo Theater, New York on July 4th, 1973 as part of the Newport Jazz Festival. As a pioneer of "cool jazz" in the 1950s, Dave Brubeck requires no introduction to music lovers. By the early '70s he was regularly playing with his sons, amongst other musicians. Originally broadcast on Voice Of America radio, this superb performance was part of the Newport Jazz Festival, and took place in New York's Apollo Theater, July 4th, 1973. It captures him on sparkling form, tackling older classics as well as newer material. The entire Voice Of America broadcast is presented here, digitally remastered, with background notes and images. CD $17

LP Section:

OKAY TEMIZ / JOHNNY DYANI - Witchdoctor's Son (Matsuli Music MM 110; UK) "The visionary Turkish percussionist and the great South African bassist were introduced by Don Cherry in 1969, when Dyani moved to Sweden after the break-up of The Blue Notes. They worked together regularly over the next decade, starting out with Cherry in the Eternal Ethnic Music trio. 'Another world,' recalls Temiz. 'At that time I was trying to learn as a big band jazz drummer, and when I met Don Cherry, I said, forget it. We played another kind of music. Indian music, Turkish music, Bulgarian, Chinese, you know... All kinds of music.' 'Every musician,' Dyani said later, 'should realize and acknowledge that folk music is the backbone of every music.' Recorded in Istanbul in 1976; originally released in an edition of one thousand copies only, on the Turkish label Yonca. The first side features Turkish material arranged by Temiz; the second, SA-oriented music put together by Dyani, opening with a stunning interpretation of Cherry's 'Marimba (Goddess Of Music)'. In a handsome gatefold sleeve, with excellent notes and previously unpublished photos."LP $43

ALVARIUS B. - With a Beaker on the Burner and an Otter in the Oven - Vol. 2 A Mark Twain August (Abduction 059B; USA) Alvarius B. on With a Beaker on the Burner and an Otter in the Oven - Vol. 2 A Mark Twain August: "This is Volume Two of my new three LP set, and it's called A Mark Twain August. Now don't go asking me what the fuck that title means but I will say that it may be my favorite of the three. My 'fans', all 133 of them, are pretty smart. I used to think only 67 people mattered on earth, now it could be far less, but it's beginning to trouble me how I've actually accumulated 133 fans. So if you're not a moron, I don't mind if you buy this record. I made more copies than I have fans so I need to expand on the audience a bit but I don't want fucking idiots buying my albums. A brand new car loses value the moment you drive it home, but my records will always go up in value (like my Dodge Ram Van which tripled in value when I drove it off the lot) so this is also an investment opportunity. If you were to walk slowly on a hot bed of coals you may discover that Don McLean never actually drove his Chevy to the levy and that the singer-songwriter is dead, just like all the poets. What do contemporary poets and the entire Indonesian population have in common? Most of you cannot name even one of them. Homo Sapiens now love to complain and act as if they know how the world works by 'expressing' themselves on their social media networks -- that's become the new poetry. And I think there are only nine people writing songs today that I respect, I'd have to check to make sure. And the Thinking Fellars were a great band -- I could name a dozen more from the past 30 years that I'd call contemporaries, but that's about it. . . . And I almost forgot to mention that Mark Twain's old banjo appears on this record. Oh and this is better than that Wolf King of LA album by Papa John Phillips, for all those who got mesmerized by it 30 years after it came out. There's only three or four good tracks on that and A Mark Twain August has six great tracks on it, at least. One-time pressing; Includes printed inner sleeve with lyrics and credits.LP $19

ALVARIUS B. - With a Beaker on the Burner and an Otter in the Oven - Vol. 3 Heathen Folklore (Abduction 059C; USA) "Serial killing was one of history's greatest art forms. Now it's becoming almost impossible to get a skull-drilling startup off the ground unless you murder for the corporations or governments where you have highly organized protection from any enforceable law but at the expense of sacrificing all the glory for the anonymity required to maintain employment. So, unfortunately, the days of any zit topography random commoner being able to string together a few killings to hit the big time before being caught has almost come to an end. Sad. This record, the third and final volume of my new three-LP set called Heathen Folklore, could serve as somewhat of a manual of inspiration on how one could start such a career, as risky and unpopular as it is. It gets much more fucked-up than the previous two LPs, and sometimes I think it's the best one due to that aspect. I'd have to give it one more listen but I also think this is the LP with coded messages that could trigger an unsuspecting listener to start his/her career in extreme behavior. But killing isn't everything you know. There are many more ways to express yourself and reach the top of the charts these days. In fact, I saw Burt Bacharach three weeks ago gripping a huge fucking machete while chasing modern dance music architects off his champion ship and into deep water where they hopefully became shark bait. And to set the record straight, Jimi Hendrix did not fake his death and become Morgan Freeman nor was Hunter S. Thompson directing snuff films. But most of that other weird shit you hear about these days is probably true. And I'm working on a film called 'Being Alvarius B.' where all of you loser fucks crawl into my brain and see yourselves from my perspective and then commit collective suicide because you finally realize I was right all along. And I am. Can't wait to make more albums so I can write these album descriptions." One-time pressing; Includes printed inner sleeve with lyrics and credits.LP $19

CHE CHEN & ROBBIE LEE, CHE - The Spectrum Does (Audiomer 016; Belgium) On The Spectrum Does, New York avant-rock musicians Che Chen and Robbie Lee create three earthy and slow-moving pieces, informed as much by various global folk traditions as they are by 20th century composition and improvisation. Their "anything goes" approach to improvising leads to a sonic document that sounds raw, intense, and freshly exciting. A wild and shambolic brew that sounds like nothing else. Che Chen is musician and visual artist currently best known for his work with percussionist Rick Brown as 75 Dollar Bill. In the mid-2000s, he formed this duo with composer and producer Robbie Lee, who at the time played with people like Baby Dee and Neil Hagerty. Their most concentrated period of activity is bookended by a first LP they self-released in 2008 called Begin, And Continue! and this record, The Spectrum Does, which contains music recorded several years later. On The Spectrum Does, both tackle a range of unconventional instruments like bass recorders, Renaissance clarinet, glissando flute, tarogato, electrified violin, ultraslow recorders, and custom modified tape machines. While their first LP documented their earliest, mostly acoustic improvisations, The Spectrum Does captures Che and Robbie after five or so years of meeting two or three times a week and multiple tours around the country (a couple of times as a part of Jozef van Wissem's band Heresy Of The Free Spirit). By now what was pulsing out of their little overdriven tube amps was even more electrified and warped. Sounds of unknown origin seem to bubble up to the surface, met by completely unique approaches to wind and string instruments. Much boundary pushing improvised music gets described as "outer limits" but on The Spectrum Does, it seems much more right to say they explore the "inner limits". It is deep listening music, but not minimalist; complex but not virtuosic. Dissonances intermingle with folk harmonies and rhythms. As with all of the music this duo made together, there's a sort of shambolic-shamanic sensibility to it, but without a motive or explicit purpose. To be filed close to Tony Conrad, Henry Flynt, Pelt, and The Dead C. Personnel: Robbie Lee - flute, tarogato, melodica, great bass recorder, electronics, percussion; Che Chen - violin, harmonium, bass recorder, tape machine, electronics, percussion. Cover painting by Che Chen; Typography by Jeroen Wille. Recorded and mixed by Robbie Lee; Mastered by Jack Allett. Edition of 300.LP $24

FIFTY FOOT HOSE - Cauldron (Aguirre Records 048; Belgium) Aguirre Records present the first official vinyl reissue of Fifty Foot Hose's Cauldron, originally released on Limelight in 1967. Cauldron is the legendary psychedelic jazzy rock and electronic album by Californian band Fifty Foot Hose. Fifty Foot Hose formed in San Francisco in 1967. Like few other acts of their time, they consciously tried to combine the contemporary sounds of rock with electronic instruments and avant-garde compositional ideas. They were one of the most radical groups of the psychedelic era, and their experimentalism still has the power to shock and surprise even now. What set them apart were the pioneering experiments in electronic music, like the band they are often compared to, The United States of America. Incorporating Theremin, siren, audio generators, and other various electronic effects, as Cork Marcheschi, the band's original bass player, had developed an acute interest in the dadaist/futurist experiments of composers like John Cage and Edgar Varese. David and Nancy Blossom brought both psychedelic and jazz influences to the band. Cauldron, their only album, was released in December 1967, including "Fantasy", "Red The Sign Post", and "God Bless The Child", a Billie Holiday cover. Their sound experiments differentiated them from their contemporaries and most audiences didn't quite know what to make of them. Fifty Foot Hose's music leans more towards White Noise, Silver Apples, and especially United States of America, rather than to flower power movement. After only one album, the proto-cyber psych outfit passed as quickly as they came. Their only mention would be a name-check in Ralph J. Gleason's 1969 book, The Jefferson Airplane And The San Francisco Sound, published over a year after their demise. Ralph J. Gleason wrote: "I don't know if they're immature or premature." History has proven them to be the latter. Today, the original album is very collectable and considered a touchstone of avant-garde rock music. Cork Marcheschi on the record: "The concept was to expand what contemporary popular music was. I thought the avant-garde could have had a home with this new group of listeners but they turned out to be pretty conservative -- intellectually. Drugs were fine -- sex was fine -- stop the wars was good but when challenged with abstract art., they reacted like conservative people look at a Jackson Pollock painting." Cover reconstruction by Jeroen Wille. Remastered by Equus. Includes replica of the original insert. 180 gram vinyl; Edition of 1000.LP $30

BOB DYLAN - Freewheelin' Outtakes (Wax Love 82010; Italy) Unlike his debut (WLV 82001LP) -- which took only two days in the studio to record -- The Freewheelin' Bob Dylan finally emerged in May 1963 after some eight sessions at Columbia Records Studio A, over the course of nearly a year. The time and effort paid off in spades, as he emerged from the studio a fully-formed bona fide songwriter with a legitimate hit on his hands. Obviously, the final album left much material on the cutting room floor and with this release, Wax Love bring some of that rarely heard material back to light. A mix of originals that never made it onto any LP, alternate takes, and cover songs, Freewheelin' Outtakes: The Columbia Sessions, NYC, 1962 captures America's most important living songwriter at a pivotal moment in his career when he emerged from the Greenwich Village folk scene to become the voice of his generation.LP $17

SERGE GAINSBOURG - Indifferente (Jambalaya 13019; Italy) Collecting some of Serge Gainsbourg's finest early recordings from 1958 and 1959, Indifférente finds the provocative chanteur in his rawest form. Pulled from his first two 10" releases and including live cuts and duets with Juliette Gréco, this is the essential document of Serge's beginnings, not long after his songwriting and singing prowess had been discovered by the famous chanteuse Michèle Arnaud who recorded some of his earliest tunes. If you dig Serge the sex symbol and international pop star, you've got to hear the jazzy, sultry, early chansons that launched him to stardom.LP $21

DIZZY GILLESPIE With LEO WRIGHT / LALO SCHIFRIN / et al - Dizzy On The French Riviera(Wax Love 82005; Italy) Wax Love present a reissue of Dizzy Gillespie's Dizzy On The French Riviera, originally released in 1962. Recorded July 24, 1962 at the 3rd International Jazz Festival D'Antibes/Juan-Les-Pins, this is classic 1960s Dizzy. It's smooth and swinging without losing any of his patented power. Produced by Quincy Jones, and featuring piano and arrangements from Argentinian master Lalo Schifrin, Gillespie shines here alongside underrated reed man Leo Wright. A great early '60s Dizzy group absolutely slaying live to a receptive audience.LP $17

THE RAINCOATS - Extended Play (Smells Like 012; USA) "It seemed for a while in the wake of Pistols/Clash hysteria that post-punk Blighty might just change the face of popular culture. And no small thanks to some females who didn't care to be written off: The Slits, Kleenex and most enduringly, the Raincoats. Their brief career included a few LPs on Rough Trade, but the band fell prey to inner turmoil by the turn of the decade. That was way before their biggest fan, a semi-famous guy named Kurt Cobain began singing their story to every journalist in the land. Soon enough Steve Shelley was behind the drums in a revamped version of the band. With this new lineup, Extended Play came to be, a preface to their triumphant 1994 reunion album on the DGC label. Somehow, the Raincoats' old records have gotten better since they were made. Invited to open for Nirvana on their 1994 tour, the decade-gone Raincoats reformed, with original members Gina Birch (bass/vocals) and Ana da Silva (guitar/vocals) joined by new violinist Anne Wood and guest drummer Steve Shelley of Sonic Youth. Cobain's suicide ended those plans, but the band went on a triumphant American tour anyway. A John Peel session from April 1994 (two new songs, 'No One's Little Girl' from Moving and 'Shouting Out Loud' from Odyshape) was released on Shelley's label as Extended Play. The noisy avant-continental 'Don't Be Mean' (unveiled on the EP) take slipperier turns through the band's past.' --Douglas Wolk/Ira Robbins"10” LP $10

WANDA JACKSON - There's A Party Goin' On (Cornbread Records 16038’ USA) Cornbread Records present a reissue of Wanda Jackson's There's A Party Goin' On, originally released in 1959. The first female singer of the early rock and roll era, Wanda was encouraged to try rock and roll by Elvis Presley himself. It was 1955 when Wanda met Elvis during the "Ozark Jubilee", a country tour through the south. She didn't think she had the voice for it, but he disagreed. He even recommended some songs for her. At first she was reluctant, but she signed a recording contract with Capitol Records and decided to give it a try. During the next few years, Wanda produced numerous examples of raw, prototypical rock & roll. The most distinctive aspect was her voice. She developed a wild, growling sound that at times sounds possessed or strangely alien, capable of going from sweet innocence to hellcat at the push of a button. Originally released in 1959 during the "Queen of Rockabilly"'s prime at Capitol Records, There's A Party Goin' On features a solid collection of songs in tune with the title track, as well as covers of a handful of early rock hits such as "Tweedlee Dee" and "Kansas City". The set is highlighted by the staggering guitar playing of Roy Clark as exemplified on the standout cut "Hard Headed Woman". Includes two bonus tracks. Reissued here on 180 gram vinyl; Includes download card.LP $21

All Sets start at 8:30pm Tickets: $20There are no refreshments or merchandise at The Stone. Only music. All ages are welcome.Cash Only at the door. There is no phone. There is no food or beverage served or allowed just a serious listening environment.The Stone is booked purely on a curatorial basis

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The CORNELIA STREET CAFE - 212-989-931929 Cornelia St in the heart of the West Greenwich Village, NYC

I-Beam is located at 168 7th Street in Brooklyn, NY 11215 - Directions: SUBWAY: Take the F or R trains to 4th Ave & 9th Street. Walk down 4th ave to 7th street. Make a left on 7th and walk past 3rd ave. We are located on the ground floor, the grey doors to the right of the stairs of #168.